Following his initial spatial intervention in the gallery itself in 2002, and work on an ensemble of aluminium
plates painted in situ in Madrid which made up his 2011 show, this time Zitko is interspersing
both lines of production to generate a pictorial context in which the background is occupied by
a mural intervention onto which are arranged various aluminium plates (the paintings themselves)
which end up being sort of unique and autonomous fragments in the continuity of a large-scale line
or scrawl which takes up the whole of the gallery space.
The pictorial process, slow and complex, which requires detailed studies of the conditions in which
each project is undertaken (architecture, light, textures and surfaces) simulates a large calligraphic
exercise, almost primitive, in which a dense and concentrated mass of lines, turns and curves cover
a surface with automated gestures. What we see here is drawn writing, which although improvised
on the walls as a primary mark and impulse, and with a certain appearance of being almost out of
control, requires a considerable reflective charge. A two-dimensional illusion trapped in a three-dimensional
context which acts as overwriting in the specificity of a space.
When faced with Zitko’s painting, the spectator, immersed in a transitional space, as various critics
and historians have chosen to call it, undergoes a physical and psychological experience made up
of the dualities interior/exterior, subject/object and private/shared.
Zitko’s drawing, linked on the one hand to the art brut label and on the other to Surrealist automatic
writing, is defined around the staking out of an underlying and escapist path with regard to rational
thought; its abstraction ends up proposing a transgressive language as opposed to the hegemonic
rules of written grammar. Painting in a state that is sometimes defined, in Freudian terms, as
pre-historic; preceding consciousness and prior even to the objective world and to the subject itself.
Transitional space developed with a certain vulnerability which, far from the sublime and from the
Pollockian all-over experience, keeps to an expansive abstraction in which scale, order and legibility
construct a shared logic between semiotics and the pure presence of a physical gesture.
Spontaneous bursts, outpourings and automatisms jostle with pauses and reflective spaces tracing
out movements at differing speeds, lengths, pressures and intensities that flow in a symphonic composition
of lines, rhythms and tempos.